Monday, September 30, 2013

I thought I killed it years ago. I've encountered its ghost many times since - a wisp of memory, the vague outline of an amputated habit. But now, though I knew better, I went and fed that be! And now it's gathering strength to stalk my mind again.

I didn't perceive nibbling on my kids' leftovers as anything other than a bad habit until I read a diet book that describes the process of weaning yourself off trigger foods as "starving dinosaurs into extinction."

It's true. If you don't eat French fries for several months, you lose the taste for them, just like Taylor LeBaron says in Cutting Myself in Half: 150 Pounds Lost One Byte at a Time. The problem is, this kind of dinosaur can reanimate itself much more easily than the ones in "Jurassic Park." One taste may not do it, but two is definitely flirting with disaster.

The process I used to kill off this particular dinosaur wasn't so much starvation as changing my camera angle. Instead of zooming in for a close-up view of the food - yum! French fries! - I zoomed out. And saw myself hunched over the discarded remains of a Happy Meal like some vulture perched over road kill.

Then, just to ramp up the disgust factor, I zoomed back in for an ultra close-up of the portion of the food where the kids' tooth marks remained. That stomach-churning perspective stopped me from reaching out toward my kids' discarded dinners long enough for the dinosaur's power over me to fade, then die out completely. In the years since I wiped out this bad habit, I'd sometimes feel a momentary twinge of that old impulse. But it was never more than a flicker, easily ignored.

Ironically, I think my kids' increasingly healthier eating habits are partly to blame. They're now eating more of the foods I've come to prefer. And because those foods are often more expensive, it may have simultaneously ramped up another ingrained impulse: to avoid wasting food.

I'm just speculating. All I know is that when our 10-year-old recently abandoned an egg-white omelet, I couldn't resist cutting away the "contaminated" part she'd been eating and finishing it off myself.

A few days later, it was a partially consumed veggie burger, thoughtfully tucked inside a low-cal Slimwich.

"Want this?" Colleen asked, thrusting it under my nose. "I'm full."

I paused just long enough to congratulate her on recognizing her limits - something I'm still working on - before accepting the burger.

None of this stuff is particularly deadly. But extra calories are extra calories, no matter how "healthy" they may be.

I need to starve this "dinosaur" back into ghost mode, just to prove I can do it. I don't have the willpower to stop cold turkey. Even now, three years into weight-loss maintenance I don't have the confidence to say, "Never again am I going to do this." Because if I fail once, and then again and again, the power in that statement is gone. If even I don't believe it, the dinosaur certainly won't.

But what I can do is spread out this beast's feedings.

I can resolve not to let this happen again until at least one week has passed. After that, I'll try for two weeks, then a month.

Based on past experience with French fries, I know these dinosaurs are most vulnerable once you've got them down to monthly feedings.

And so I'll bide my time. The dinosaur has been gaining strength. But I'm stronger now, too.

Sunday, September 29, 2013

<halloween party dvdp>The initial pitch to transform the Haunted Mansion attraction with a Halloween overlay based on "The Nightmare Before Christmas" didn't receive a warm reception from the Disneyland brass.

Thirteen years later Haunted Mansion Holiday is the cornerstone of Mickey's Halloween Party at Disneyland, with hour-plus lines throughout the season.

Photos: Mickey's Halloween Party at Disneyland

The transformation of the Haunted Mansion takes three weeks every year with crews adding decorations, animations, props and large set pieces inspired by the 1993 movie. Each year a few new elements are added -- from the pumpkin mountain to the ballroom tree to the gingerbread house.

Disneyland takes the same approach with the annual Halloween festivities, incorporating a couple new elements to an event that largely stays the same from year to year. This season the Monsters U dance party at the Tomorrowland Terrace joins the lineup with a "family-friendly frat party" hosted by scare students Mike and Sully.

The up-charge event is the one time of year when visitors can wear costumes while trick or treating at candy stations located throughout the park.

Other attractions returning this year to Mickey's Halloween Party include:

For anybody left in the universe who hasn't seen Louis C.K.'s explanation about why he won't let his children have smartphones, do yourself a favor and watch that brilliant, melancholy, hilarious four-minute "Conan" clip.

This got me thinking about his particular brand of philosophical-observational comedy, siphoned off, distilled and repackaged from the likes of George Carlin, Jerry Seinfeld, Chris Rock and other giants of the genre. The thing is, I think C.K. is actually, really, indeed a genius in the way the literary world sort of pretends famous novelists and literary theorists are.

This is not to say that novelists and theorists can't be brilliant, just that no one cares what they say. It's the whole "if a literary superstar falls in the forest" thing.

I'm thinking about this a lot because I'm back in school reading lit-tra-chure and grappling with tomes such as "Through Other Continents: American Literature Across Deep Time" by English and American studies giant Wai Chee Dimock.

However, it's pretty plain to see that literature, books, the novel-whatever you want to call it-no longer capture the popular imagination or explain the zeitgeist. Sure, every once in a while a boy wizard, a BDSM enthusiast or a teen vampire will sweep through the morning commute circuit, but none of this is what's being debated within the academy, to put it mildly.

Which brings me back to C.K.

In an atomized, globalized, fragmented culture, it's difficult to find many nexuses of popularity and genuine thoughtfulness. If, 100 years from now, English professors are rooting around for writers to study, they could do worse than expanding into stand-up comedy and becoming intimately acquainted with this brazen, reductive, working-class-dad-looking comedian.

Count me as a fan who thinks his awesome FX show "Louie" is maybe the least impressive component of a body of work quickly becoming indispensably classic. His one-off talk show rants, including 2009's "Everything is amazing and nobody's happy" (from Conan's "Late Night" days), seem preposterously revelatory. His stand-up specials frequently become vicious deconstructions of race, class, religion and gender, from "God, I love being white" to "Why do women go out with us? Globally and historically, we're the No. 1 cause of injury and mayhem to women."

Beyond this always unexpected yet totally routine depth, the guy also happens to be one of the most entertaining human beings alive. Glancing at his disheveled nature, all gut, goatee and bald ginger head, you almost can't believe the command he has over an audience and his own presence. Yet that command is entirely intellectual, as he carries Seinfeldian observational humor out into the deep reaches of comedic time and space. He's what would happen if Friedrich Nietzsche was hilarious.

To prove my point by attempting to decimate it, C.K. once explained to Jon Stewart why farting is not low-brow, stupid humor, why it's still funny.

"It comes out of your ass," he said. "It smells like poop. And it makes a little trumpet noise. ... You don't have to be smart to laugh at farts, but you have to be stupid not to."

Wai Chee Dimock, get cracking on your next book.

RedEye special contributor Stephen Markley is the author of "The Great Dysmorphia" and "Publish This Book." Want more? Discuss this article and others on RedEye's Facebook page. Source: Redeyechicago

Mitsubishi hasn't been doing much recently. So launching its first production plug-in hybrid crossover, the Mitsubishi Outlander PHEV, could be quite a coup.

However, due to global demand and a limited halloween party supply pack of battery packs, the Outlander Plug-In Hybrid will be delayed until at least next year, Mitsubishi Motors North America senior manager of product strategy Bryan Arnett told Green Car Reports.

If it makes the trip stateside, the Outlander Plug-In could arrive in fall 2014 as a 2015 model.

Demand in Japan and Europe is keeping Mitsubishi from exporting the crossover, Arnett said, because the company's battery supplier can only make a limited number of cells and packs.

Overheating battery packs forced Mitsubishi to stop production earlier this year. The problem was eventually fixed, but a second recall in June further stymied momentum.

If it ever does make it to the U.S. (hopefully not on fire), the Outlander Plug-In would essentially be in a class of one. It's size and high driving position would put it a step above other utilitarian plug-in hybrids, like the Ford C-Max Energi and Toyota Prius Plug-In. That is, unless BMW can beat it to the market with a production X5 PHEV.

The powertrain consists of a 2.0-liter gasoline engine, 12-kilowatt-hour lithium-ion battery pack, and two 60-kilowatt electric motors - one for each axle.

The Outlander also has the novel ability to operate as a parallel hybrid (like the Prius and most other hybrids), series hybrid (where the engine is only used to generate electricity), or an all-electric vehicle.

So the Outlander could bring more than one kind of versatility to the plug-in hybrid segment, if Mitsubishi can get it over here and keep it from having a melt-down.

The automotive industry provides a strong base for the global sensor market.. The basic applications of sensors in the automotive industry are electronic and electrical systems for more comfort and safety. Automobile manufacturers are making use of advanced electronic elements to provide safety, eco-friendliness, and fuel efficiency.

The automotive sensor market has experienced a surge over the past few years with a demand for sensors with increased safety and control applications like anti-lock braking system (ABS), airbags, and engine emission control.

The automotive industry provides a huge scope for research and development in technology. Sensors are expected to play a key role in the automotive market in developed countries. Emphasis on vehicle fuel efficiency and power-train performance features will result in secure gains for sensors like oxygen sensors, reverse parking sensors, airbag accelerometer sensors, and tire pressure monitoring sensors among others.

This research report analyzes the global market for automotive sensors discussing the detailed overview and market figures. This report also analyzes the industry growth rate¸ industry capacity, and industry structure. It includes the study of current developments in the automotive sensors market, Porter's five force analysis, and detailed profiles of top industry players. The research report on automotive sensors provides a detailed review of macro and micro factors significant for existing market players and new entrants with value chain analysis.

Thursday, September 26, 2013

Researchers at the Technische Universitaet Muenchen (TUM) are showing the way toward low-cost, industrial-scale manufacturing of a new family of electronic devices. A leading example is a gas sensor that could be integrated into food packaging to gauge freshness, or into compact wireless air-quality monitors.

New types of solar cells and flexible transistors are also in the works, as well as pressure and temperature sensors that could be built into electronic skin for robotic or bionic applications. All can be made with carbon nanotubes, sprayed like ink onto flexible plastic sheets or other substrates.

Carbon nanotube-based gas sensors created at TUM offer a unique combination of characteristics that can't be matched by any of the alternative technologies. They rapidly detect and continuously respond to extremely small changes in the concentrations of gases including ammonia, carbon dioxide, and nitrogen oxide. They operate at room temperature and consume very little power. Furthermore, as the TUM researchers report in their latest papers, such devices can be fabricated on flexible backing materials through large-area, low-cost processes.

Thus it becomes realistic to envision plastic food wrap that incorporates flexible, disposable gas sensors, providing a more meaningful indicator of food freshness than the sell-by date. Measuring carbon dioxide, for example, can help predict the shelf life of meat. "Smart packaging" - assuming consumers find it acceptable and the devices' non-toxic nature can be demonstrated - could enhance food safety and might also vastly reduce the amount of food that is wasted. Used in a different setting, the same sort of gas sensor could make it less expensive and more practical to monitor indoor air quality in real time.

Not so easy - but "really simple"

Postdoctoral researcher Alaa Abdellah and colleagues at the TUM Institute for Nanoelectronics have demonstrated that high-performance gas sensors can be, in effect, sprayed onto flexible plastic substrates. With that, they may have opened the way to commercial viability for carbon nanotube-based sensors and their applications. "This really is simple, once you know how to do it," says Prof. Paolo Lugli, director of the institute.

The most basic building block for this technology is a single cylindrical molecule, a rolled-up sheet of carbon atoms that are linked in a honeycomb pattern. This so-called carbon nanotube could be likened to an unimaginably long garden hose: a hollow tube just a nanometer or so in diameter but perhaps millions of times as long as it is wide. Individual carbon nanotubes exhibit amazing and useful properties, but in this case the researchers are more interested in what can be done with them en masse.

Laid down in thin films, randomly oriented carbon nanotubes form conductive networks that can serve as electrodes; patterned and layered films can function as sensors or transistors. "In fact," Prof. Lugli explains, "the electrical resistivity of such films can be modulated by either an applied voltage (to provide a transistor action) or by the adsorption of gas molecules, which in turn is a signature of the gas concentration for sensor applications."

And as a basis for gas sensors in particular, carbon nanotubes combine advantages (and avoid shortcomings) of more established materials, such as polymer-based organic electronics and solid-state metal-oxide semiconductors. What has been lacking until now is a reliable, reproducible, low-cost fabrication method.

Spray deposition, supplemented if necessary by transfer printing, meets that need. An aqueous solution of carbon nanotubes looks like a bottle of black ink and can be handled in similar ways. Thus devices can be sprayed - from a computer-controlled robotic nozzle - onto virtually any kind of substrate, including large-area sheets of flexible plastic. There is no need for expensive clean-room facilities.

"To us it was important to develop an easily scalable technology platform for manufacturing large-area printed and flexible electronics based on organic semiconductors and nanomaterials," Dr. Abdellah says. "To that end, spray deposition forms the core of our processing technology."

Remaining technical challenges arise largely from application-specific requirements, such as the need for gas sensors to be selective as well as sensitive.

Sunday, September 22, 2013

The biggest night in TV has arrived! All the biggest stars from your favorite shows are flocking to the Nokia Theatre in Los Angeles on Sept. 22 for the Emmys. It obviously all starts with a star-studded red carpet at 6 p.m. ET, and you can watch all the action below!

After a summer full of fun awards shows (gosh, remember the VMAs?), it's time for the heavy-hitters. The 2013 Emmy Awards take center stage on Sept. 22, honoring all of TV's best shows and stars. Hosted by the veteran Neil Patrick Harris, this year's Emmys will be just as entertaining and debate-inspiring as always.

2013 Emmy Awards Live Stream - Watch The Show Online

For all you TV fans, welcome to heaven. The 65th annual Emmy Awards will be putting all the best shows in spotlight - Glee, Breaking Bad, Game of Thrones, and Downton Abbey are all heading into the show with multiple nominations, and it should be interesting to see who comes out on top this year.

There are just so many questions we need answering! Will this be the year that is finally honored for his work on Mad Men? Will Claire Danes make her crying face if she wins again for Homeland? Will Neil Patrick Harris make fun of Miley Cyrus? We need to know!

Cory Monteith To Be Remembered At 2013 Emmy Awards

The 2013 Emmys will also be a night where we can properly remember and honor some of our favorite fallen stars. A light will definitely be shone on iconic actors like James Gandolfiniand Jean Stapleton, but the awards show will also take special care with Cory Monteith's tragic July death by putting on a special tribute.

Outside of the usual "In Memoriam" segment, a touching homage with music is being planned. "We felt [Cory] needed to be represented, that at 31, he passed away under very tragic circumstances," Emmys producer Ken Ehrlich told E! News, explaining Cory's special tribute.

It will definitely be a night to remember. You can catch the show on CBS at 8 p.m. ET, but don't miss all the action LIVE from the red carpet below starting at 5:55 p.m. ET/2:55 p.m. PT.

talk-like-a-pirate-day">Talk Like a Pirate Day freebies are here! On Sept. 19, 2013, people around the country celebrate "Talk Like a Pirate Day" where people (you guessed it) talk like a pirate... ay! Several sites including All Alabama have listed all of the fun things that you can for free on this fun and festive day... if you so choose.

For starters, Facebook is taking part in this quirky holiday by allowing users to change the "language" that they use on the site to "English (pirate)." Then "ye" can tell all "yer" friends to do the same. How fun! Next, a lot of food places are giving away things in honor of pirates today.

Talk Like a Pirate Day freebies at Krispy Kreme will earn you a free donut just for giving your best pirate imitation. Want a dozen delicious donut treats? Head to a Krispy Kreme location decked out in pirate garb and your wish will be granted. Long John Silver's is also offering freebies to those who want to talk like a pirate. You can get a free piece of "classic whitefish" if you say "Arrr" and make the request.

Other local places are offering freebies too so if you want to take advantage, you should check some of your local eateries and their websites. According to Philly.com, Dunkin' Donuts is celebrating with an online contest. If you tweet their account with a menu item in "pirate speak" with the hashtag #PirateDDay, you will be entered to win a handsome treasure. That's totally worth it, right?

So, Talk Like a Pirate Day freebies can be scooped up today only... and if you're not on the market for any of the things being offered, you might as well just give your best pirate impression to a co-worker or family member for the heck of it.

Micah Seidman of Sylmar, dressed like a pirate, plays a little bit with some of his free dozen doughnuts before eating them at the Burbank Krispy Kreme Doughnuts on International talk Like A Pirate Day on Thursday, Sept. 19, 2013. Those talking like a pirate got a free doughnut and those dressed like a pirate got a free box of doughnuts. (Raul Roa / Staff Photographer / )

Abandon all diet plans, ye who enter here.

Thursday be International Talk Like a Pirate Day, mateys, and Krispy Kreme celebrated by giving a free doughnut to landlubbers ordering in pirate-speak, or a treasure trove of a dozen glazed to those sporting full pirate garb.

Sea dogs young and old flocked to Krispy Kreme Burbank on Victory Place donning eye patches, tricorn hats, bandannas, hoop earrings, hooks and even toy parrots.

The Burbank shop gave away at least 150 dozen and 200 individual glazed doughnuts in the first six hours of the day, Manager Mike Kazourra said.

"Arr, it's a good day to be a pirate. These are better than gold doubloons," said Brad Bowen, a line producer for the Disney animated show "Jake and the Never Land Pirates." He and two coworkers dressed up to claim three-dozen doughnuts to share with crewmates at Empire Center.

The promotion was a draw for many families with small children, some from distant ports.

"Our kids love playing pirate, so we already had their costumes," Anne Johnson of Simi Valley said of her sons Ray, 4, and Max, 2, and their 3-year-old cousin, Penelope.

This was a week marked by enthusiasm by our various critics: Bill Raden praised Sacred Fools' production of Edward Einhorn's 2010 adaptation of Philip K. Dick sci-fi book Do Androids Dream of Sleep?, which is this week's Pick. Pauline Adamek was smitten with Hayworth Theatre's production of the musical bare. Jenny Lower had very positive things to say about Breath and Imagination: The Story of Roland Hayes, about the first internationally lauded African-American classical singer, being performed at Burbank's Colony Theatre. Deborah Klugman praised Joyce Carol Oates' Tone Clusters at Theatricum Botanicum. And Paul Birchall found the 2010 musical The Burnt Part Boys, now at Third Street Theater, to be captivating. For all the latest new theater reviews, and comprehensive theater listings, see below.

Annoyance with capricious authority has been around for a while -- at least since Prometheus Bound, a 5th century B.C. play that may or may not have been written by Aeschylus. There's some dispute about that. There's no dispute that Joel Agee wrote the translation currently at Getty Villa and presented by CalArts Center for New Performance. The same theme of authority on the rocks shows up in comedic form in Eugene O'Neill's Ah, Wilderness! at Actors' Co-op in Hollywood. Both plays are reviewed in this week's theater feature.

Also of note: L.A. Stage Alliance's 2013 Ovation Awards nominees have been announced.

GO: BARE A closeted gay couple in a Catholic boarding school struggle with their secret love affair. Peter (a superb Payson Lewis) wants to come out to his mom and the world, but Jason (an equally outstanding Jonah Platt) refuses, dreading the fallout. Jon Hartmere and Damon Intrabartolo's contemporary rock opera is uplifting despite its sorrowful elements, and the courage of the writers -- and the talented cast -- to plumb the complexities of adolescence, including bullying, cutting, teen pregnancy and burgeoning sexuality, grants us a fantastic musical journey. The writers also forge an intricate, effective parallel between our heroes' clandestine love affair and the star-crossed lovers of Romeo and Juliet by having the school kids rehearse the play throughout. Lindsay Pearce as Ivy, the girl who comes between the guys, is a standout, her pure, strong voice conveying her vulnerability. The songs vary in style from rock anthems to wistful ballads, powerfully performed by a top-notch cast and band, including Alex Seller, who alternates effortlessly between shredding on electric guitar and plucking delicate melodies on acoustic guitar. A muddy sound mix sometimes obscures the incisive lyrics, but this is an affecting show that is not to be missed. Hayworth Theatre, 2511 Wilshire Blvd., Westlake; Fri.-Sat., 8:30 p.m.; Sat., 2:30 p.m.; Sun., 7:30 p.m.; through Sept. 22. (310) 213-6955, ¬ thehayworth.com. (Pauline Adamek)

Daniel Beaty's West Coast premiere revives the lost-to-history account of Roland Hayes, a son of former slaves and the first internationally lauded African-American classical singer. Raised in the South on hard work and spirituals, Hayes (Elijah Rock) overcomes early tragedy to perform in Chattanooga's black churches. When an instructor intervenes to provide professional training, Hayes confronts the objections of his sassily beatific mother, Angel Mo (Karan Kendrick), who believes her son is destined for life as a preacher. Condensing Hayes' life story inevitably leads to some whiplash plot twists and hurried catharsis, but Rock and Kendrick's chemistry under Saundra McClain's direction sustains and clarifies the play's themes. Accompanist Kevin Ashworth tackles a grab-bag of supporting roles, perhaps most jarringly as Hayes' father, when his pale skin imbues the endearment "boy" with inadvertent menace. But his presence offers a pleasing, if farcical, dimension. Shaun Motley's handsome, sweeping wooden set stands in for Georgia fields and concert halls alike. Most stirring is Rock's lustrous timbre as the mature Hayes: Harmonizing with Kendrick through earthy spirituals, he soars through von Gluck's "O Del Mio Dolce Ardor" before dipping into a soul-trembling version of "Were You There?" The superb music direction is by Rahn Coleman. Colony Theatre Company, 555 N. Third St., Burbank; Thurs.-Sat., 8 p.m.; Sat., 3 p.m.; Sun., 2 p.m.; through Oct. 13. (818) 558-7000, colonytheatre.org. (Jenny Lower)

With a hardscrabble Appalachian setting and a score that engagingly echoes the melodies of Copland, Bernstein and Sondheim, this captivating 2010 musical (book by Mariana Elder, music by Chris Miller, and lyrics by Nathan Tysen) is both a sensitive meditation on grief and a heartfelt coming-of-age tale. Ten years after their dads perished in an accident at an isolated mine, a group of teenagers embark on a pilgrimage to visit the spot. Along the way, they are forced to confront their own mortality, their memories of their family and their goals for the future. Director Richard Israel's intimate and beautifully atmospheric production crackles with youthful energy, and, as the characters embark on their rural journey, the piece takes on the feel of a ghost story of loss and redemption. Under Gregory Nabours' crisp musical direction, the bluegrassy songs are executed with heart and gusto. The ensemble is populated by a cast of mostly young performers with unexpectedly subtle vocal chops and strong emotional range. A powerful turn is offered by Daniel David Stewart as Pete, the angry teen whose impulsive actions force his older brother (an equally powerful Aaron Scheff) to pursue him into the wild. Third Street Theatre, 8115 W. Third St., Beverly Grove; Fri.- Sat., 8 p.m.; Sun., 2 p.m.; through Oct. 20. (323) 655-9232, thirdstreettheatre.com. (Paul Birchall)

PICK OF THE WEEK: DO ANDROIDS DREAM OF ELECTRIC SHEEP?

Jessica Sherman Photgraphy

Any adaptation of a novel is a compromise of approximation whose objective should be to faithfully capture the spirit and ideas of the prose in a dramatically compelling way. Which is why Philip K. Dick fans, who have repeatedly suffered the indignity of having their favorite sci-fi author plundered by dumbed-down Hollywood blockbusters, will cheer adapter Edward Einhorn's 2010, high-fidelity transliteration of Dick's wryly ironic, psychedelic, 1968 hall of mirrors. The time is a war-ravaged future in which the question of what it means to be human has been vastly complicated by a band of renegade androids passing themselves off as flesh-and-blood (it's the source material for Blade Runner). Freelance assassin Rick Deckard (Eric Curtis Johnson), a man who relies on a mood device to feel anything at all, is charged with weeding the imposters from the populace via administering "empathy tests" and summary execution. Suffice it to say that nothing is what it seems. Jaime Robledo's inventively cinematic staging (on DeAnne Millais' computer-detritus set) and an unusually fine ensemble (including Lynn Odell, Corey Klemow, Marz Richards and Rafael Goldstein) capture all the nuanced terms of Dick's allegory. But the real discovery of the evening is Kimberly Atkinson and her subtly delineated dual turn as the doppelgangers Rachael Rosen and Pris Stratton. Sacred Fools Theatre, 660 N. Heliotrope Drive, E. Hlywd.; Thurs.-Sat., 8 p.m., through Oct. 19. (310) 281-8337, sacredfools.org (Bill Raden)

THE DREAM OF THE BURNING BOY

It's to scenic designer Erin Walley's credit that she festoons the guidance counselor's office at the high school where David West Read's play is set with a poster that reads, "Face Your Problems, Don't Facebook Them!!" In the wake of the sudden death of popular student Dane (Matthias Chrans), the decoration's tone perfectly captures not only the characters' reaction to Dane's passing--slightly flip with an underlying sincerity--but also what each of them must ultimately do. This starts with Dane's English teacher Larry (Jeff Hayenga), who was the last to speak with him, and includes Dane's sister Rachel (a manically intense Jayne McLendon), his girlfriend Chelsea (Joslyn Kramer), his friend Kyle (Zach Palmer), and his mother Andrea (a scene-stealing Melissa Kite). As the characters come to terms with the tragedy, the hidden ways in which they are connected slowly come to light, nudged along by Steve (Tyler Ritter), the young guidance counselor who was Larry's student not so long ago. Director Edward Edwards deftly balances the comedy and tragedy in the piece, playing its emotional intensity palpably and engagingly.Hayenga and Ritter play well off each other with an odd-couple vibe,and Palmer's high school boyishness is eminently believable. But while cast and director give it their all, the script, despite clever jokes and a tonally spot-on rendition of the high school experience, feels thin, with a number of storylines and characters that could stand to be fleshed out and further explored. Malibu Playhouse, 29243 Pacific Coast Hwy, Malibu; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; through Oct. 13.(310) 589-1998, malibuplayhouse.org (Mayank Keshaviah)

THE END OF IT

Breaking up is hard to do, particularly if you're embedded in a 20-year marriage. That's the not terribly surprising message of Paul Coates' play, illustrated by three couples: one straight (Kelly Coffield Park and playwright Coates), one gay (David Youse and William Franklin Barker) and one lesbian (Ferrell Marshall and Wendy Radford). The three couples appear sometimes separately, sometimes simultaneously, suggesting that they are almost interchangeable as they deal with such issues as anger, grief, blame, resentment, loss of desire, fear of aging and abandonment. Coates' script is intelligent, perceptive and sometimes funny, but almost fatally restrained. Only Park is given the opportunity to tap into the raw emotions inherent in the situation. Director Nick DeGruccio marshals his fine actors through a nearly impeccable production, on François-Pierre Couture's blandly elegant set, but no amount of direction can provide the excitement the text fails to supply. End L.A. and Scott Disharoon at Matrix Theatre, 7657 Melrose Ave., Fairfax; Thurs.-Sat., 8 p.m.; Sun., 5 p.m.; through Oct. 20. (323) 960-4418, plays411.com/theend. (Neal Weaver)

A new production of the classic Greek tragedy by the CalArts Center for New Performance. The set features the use of a twenty-three-foot, five-ton revolving metal wheel, to which the protagonist, Prometheus, is permanently bound. Mondays, Wednesdays-Sundays. Continues through Sept. 28. Getty Villa, 17985 Pacific Coast Highway, Malibu, 310-440-7300, www.getty.edu. See theater feature.

As a storyteller, Joyce Carol Oates frequently traverses aberrant corridors of the human psyche. That's readily apparent in this 1990 (since updated to 2003) one-act, about a middle-aged couple, Frank and Emily Gulick (Alan Blumenfeld and Katherine James), whose son has been accused of the brutal rape and murder of a 14-year-old neighbor. The couple's nightmare compounds a thousandfold as they are interviewed live on TV and interrogated about an event too horrendous for them to accept. They're bombarded with questions as they squirm, deny basic facts and search desperately within themselves for an alternative explanation for the obvious. Some of the queries mimic the sensationalized reporting of tabloid TV, while others are stultifyingly theoretical and pedantic and humiliatingly above their heads. Oates intended the piece as a cacophonous expression of a society out of sync with humanity rather than a realistic portrait of two tormented people, but the production's strength is in fact the wonderful craftsmanship of both performers (James is particularly spot-on), and the nuanced complexity of the emotions they depict. As the offstage inquisitor, Jeff Wiesen's voice sounded canned rather than live, perhaps an effort by director Mike Peebler to conform to Oates' original concept. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga; Thurs., Sept. 19 & 26, 8 p.m.; Fri., Oct. 4, 8 p.m.; Sat., Oct. 12, 8 p.m. (310) 455-3723, theatricum.com/index.htm. (Deborah Klugman)

WHAT KIND OF GOD?

Ted Augustyn

A life spent immersed in Catholic school and culture erupts into crippling disillusionment for 17-year-old Aaron (Brett Donaldson) when he can no longer deny his homosexuality. Unable to cope, and wracked with doubts about the faith and his calling to the priesthood, he turns to his mentor, Father Bart (Robert Keasler), who reveals that he is gay. As it turns out, the loathsome Bishop Michael (playwright Steve Julian) has returned to the parish where ghosts of his past sexual predations lurk, and has picked Father Bart to chair a committee looking into sexual abuse. The resultant events inexorably expose secrets and unravel the lives of those involved. This could have been an engaging drama about a topical subject had Julian gone beyond the superficial. Offered instead is an unwieldy, melodramatic tale about homosexuality in the priesthood, teen sexuality, family bonds and the underbelly of church life and politics, which is neither surprising nor of much interest. Aaron's progressive, shrill meltdown approaches parody after a while, and cast performances are only satisfactory under Aaron Lyons' direction. Lillian Theatre, 1076 Lillian Way, Hlywd.; Thurs.-Sat., 8 p.m.; Sun., 3 p.m.; through Oct. 20. (323) 960-7787, whatkindofgodtheplay.com. (Lovell Estell III)

ONGOING SHOWS REGION-WIDE

Adults, Keep Out: A Merry Musical for Adults Only: This musical comedy by Evelyn Rudie and Chris DeCarlo (with music by Matthew Wrather) comes with its own warning, right in the title -- and, unfortunately, discerning theatergoers would be well advised to heed the admonition. The show purports to take place in a land of make-believe, where several kids embark on a quest to an enchanted lake of wisdom. The issues here are not related to the execution -- DeCarlo's staging is lively and spirited, while the unusually likable ensemble of extremely fresh-faced and appealing young performers assay their parts with enthusiasm and genuine vocal talent. However, the play itself, a schematic and derivative fantasy tale couched in flatfooted dialogue and tinny musical numbers, is disappointing. The message of Rudie's play -- that young folks grow out of their childlike imaginative worlds -- is by no means dismissable, but the clunkiness of the writing never allows the piece to succeed as either a genuine children's myth or an ironic adult tale. (Paul Birchall). Saturdays, 7 p.m.; Sundays, 3 p.m. Continues through Sept. 29. The Other Space at Santa Monica Playhouse, 1211 Fourth St., Santa Monica, 310-394-9779, www.santamonicaplayhouse.com.

Auto Parts: Writer-director Steve Sajich's play consists of four tenuously interrelated scenes, centering on the murder of a hooker. For reasons best known to Sajich, the four scenes are juggled in performance, with the audience deciding what their order will be. But this seems like a mere gimmick, designed to keep us from realizing just how thin and unsubstantial the play is. Two of the scenes, involving a randy, unfaithful husband (Frank Noon), his jealous and frustrated wife (Kate Kelly) and a prostitute (Angela Stern) carry the plot. The other two peripheral scenes concern a father-son team of thieves (John J. Malone and jack David Frank) who discover the murdered woman's body but can't report it lest it reveal their crime, and a couple of police detectives (Ben Sharples and Deanna Watkins) on a stakeout as part of the murder investigation. The actors acquit themselves well but can't overcome inept dramaturgy. (Neal Weaver). Fri., Sept. 20, 8 p.m. Fremont Centre Theatre, 1000 Fremont Ave., South Pasadena, 626-441-5977, www.fremontcentretheatre.com.

GO: : Bob Baker's It's a Musical World!: Nearly three decades ago, this reviewer attended a production of The Nutcracker with his daughter, and was surprised how thoroughly enjoyable this "children's show" was. Similarly, while It's a Musical World reveals no surprises, the production at the Bob Baker Marionette Theater is a kick from start to finish, and there's even free ice cream after the performance. It's essentially a musical variety show staged in a large carpeted room with chandeliers, immense red curtains and lots of space for the kiddies to take a front-row seat. The musical selections are culled from country, pop, classical, R&B, rock and familiar musicals, and there's even a marionette from Azusa who sings an enchanting aria. Here is a universe of puppets of all shapes, sizes and artful imaginings. The costuming is an eye-catching panorama of colors and styles, and the puppeteers dazzle with their skills. On display are a troupe of clowns, some ice skaters outfitted in turn-of-the-century garb, a garrulous Eskimo, a burlesque chorus, a disco duet featuring "Turn the Beat Around" and a grand American finale performed with the Statue of Liberty as a backdrop. (Lovell Estell III). Saturdays, Sundays, 2:30 p.m.; Tuesdays-Fridays, 10:30 a.m. Continues through Sept. 29, $15. Bob Baker Marionette Theater, 1345 W. First St., Los Angeles, 213-250-9995, www.bobbakermarionettes.com.

Breath and Imagination: The Story of Roland Hayes: The story of Roland Hayes, the son of slaves, who grew up to be the first world-renowned African American classical singer. Written by Daniel Beaty. Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m.; Saturdays, 3 p.m. Continues through Oct. 13. Colony Theatre, 555 N. Third St., Burbank, 818-558-7000, www.colonytheatre.org.

The Burnt Part Boys: A coming-of-age musical about a group of teenagers in a West Virginia coal mining town, featuring an Appalachian-inspired score. Book by Mariana Elder, music by Chris Miller, lyrics by Nathan Tysen, directed by Richard Israel. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 20. Third Street Theatre, 8115 W. Third St., Los Angeles, 323-655-9232.

GO: : Dancing on the Edge: Presented on Zombie Joe's Underground's tiny, bare stage, Dancing on the Edge borrows from the company's long-running spectacle of disgustingly funny horror tableaux, Urban Death, in that it consists of almost two dozen dancelets, all in under an hour. And though one ballerina gets shot in the stomach midleap, such glibness is tempered by a more mature investment in themes ranging from despondency -- "Hurt," choreographed by Carrie Nedrow and performed with spasmic rigor by JJ Dubon -- to jealousy to redemption. The recorded musical selections range from Nine Inch Nails to Debussy. The dancing styles are all over the map, from ballet to hip-hop, and the execution by the dancers is superb. (Steven Leigh Morris). Saturdays, 11 p.m.; Sun., Sept. 22, 7 p.m. Continues through Sept. 21. Zombie Joe's Underground Theatre, 4850 Lankershim Blvd., North Hollywood, 818-202-4120, zombiejoes.homestead.com.

Death of a Salesman: Arthur Miller's 1949 play about father and salesman Willy Loman, and his struggle to hold on to the American dream. Thursdays-Saturdays, 8 p.m.; Saturdays, Sundays, 2:30 p.m.; Tuesdays, Wednesdays, Sundays, 7:30 p.m. Continues through Sept. 29. South Coast Repertory, 655 Town Center Drive, Costa Mesa, 714-708-5555, www.scr.org.

The Dream of the Burning Boy: A mystery unfolds when Dane, a popular high school students, dies unexpectedly following a meeting with his English teacher. Written by David West Read. Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Oct. 13. Malibu Playhouse, 29243 Pacific Coast Highway, Malibu, 310-589-1998, www.malibuplayhouse.org.

The End Of It: A new play by Paul Coates, about three couples who simultaneously confront the possible dissolution of their twenty-year relationships. Thursdays-Saturdays, 8 p.m.; Sundays, 5 p.m. Continues through Oct. 20. Matrix Theatre, 7657 Melrose Ave., Los Angeles, 323-852-1445, www.matrixtheatre.com.

Fool For Love: Sam Shepard's drama about Eddie, a rodeo stuntman, and May, his lost love, whom he has found living at a motel in the Mojave Desert. Directed by Gloria Gifford. Saturdays, 8 p.m.; Sundays, 7:30 p.m. Continues through Sept. 29. T.U. Studios, 10943 Camarillo St., North Hollywood, 818-205-1680.

Frank and Ava: It's hard to imagine at this late date what new light a stage play could shed on the tumultuous, six-year, 1950s tabloid marriage of Hollywood icons Frank Sinatra (Rico Simonini) and Ava Gardner (Stefany Northcutt). And if playwright Willard Manus' two-character drama is any indication, the answer turns out to be very little. That's not to say that Manus' straightforward biographical survey isn't thorough in its chronicle of the pair's fierce ambitions, insecurities and appetites for both alcohol and marital infidelity, or what inevitably happens when that combustive combination is subjected to the unforgiving accelerant of wealth and celebrity. To that end, Simonini (who bears a passable physical resemblance to a 40-something Sinatra) and Northcutt capably trace the eventful outlines of the story, but neither Manus nor director Kelly Galindo's staging ultimately convinces in illuminating the mysterious charisma of the evidently rather venial couple or why we still care. (Bill Raden). Sundays, 5 p.m. Continues through Sept. 29, hollywoodfringe.org/projects/1371. Three Clubs Cocktail Lounge, 1123 Vine St., Los Angeles, 323-462-6441, www.threeclubs.com.

Gallery Secrets: 4 Plays, 4 Exhibit Halls, 4 Time Periods: Four short plays by four Los Angeles playwrights, performed after hours at the Natural History Museum of Los Angeles County: 1913: A Vast Hoard, written by Tom Jacobson, performed in the Rotunda; 1929: Skins and Bones, written by Ruth McKee, performed in the African Mammal Hall; 1978: Under the Glass, written by Zakiyyah Alexander, performed in the Gem and Mineral Hall; 2013: Prom Season, written by Boni B. Alvarez, performed in the Dinosaur Hall. A production of Chalk Repertory Theatre in conjunction with the Natural History Museum of L.A. County's 100th Anniversary. Sat., Sept. 21, 7 p.m.; Sun., Sept. 22, 7 p.m.; Fri., Sept. 27, 7 p.m.; Sun., Sept. 29, 7 p.m.; Sat., Oct. 5, 7 p.m.; Sun., Oct. 6, 7 p.m.; Fri., Oct. 11, 7 p.m.; Sun., Oct. 13, 7 p.m. Natural History Museum of Los Angeles County, 900 Exposition Blvd., Los Angeles, 213-763-3466, www.nhm.org.

Prometheus Bound: A new production of the classic Greek tragedy by The CalArts Center for New Performance. The set features the use of a twenty-three foot, five ton revolving metal wheel, to which the protagonist, Prometheus, is permanently bound. Mondays, Wednesdays-Sundays. Continues through Sept. 28. Getty Villa, 17985 Pacific Coast Highway, Malibu, 310-440-7300, www.getty.edu.

Hamlet: An all-female production of Hamlet -- why?! The gender-bending (and multicultural) casting permits this motley cast of women to tackle the tragedy's meaty classic roles but adds nothing to the production. Rather, it distracts and detracts. Lisa Wolpe and Natsuko Ohama co-direct and star (as Hamlet and Polonius, respectively) in a lively rendition that gallops toward its (implied) bloody finale. Yet this tragedy could have used a firmer hand on the reins. Some perfs are good, others woeful. Emphatic gestures and shouted delivery, as well as the random sound design, rob the text of its subtleties, making this Hamlet for Dummies. Wolpe's interpretation of the gloomy Dane is bitter, sarcastic, playful and energetic as she roughs up both Ophelia and Gertrude in tempestuous scenes. Unfortunately, Wolpe also sometimes rushes her delivery of the scintillating text. Ophelia (Chastity Dotson) is excellent in her descent from confusion into insanity, while the majestic set of faux stone, with its trapdoor for the grave scene, is superb, including its upstairs realm for the lumbering, un-wraithlike ghost of Old King Hamlet (Elizabeth Swain). The swordplay is excellent; the rest is -- silence. (Pauline Adamek). Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m.; Thu., Sept. 26, 8 p.m.; Wed., Oct. 2, 8 p.m.; Thu., Oct. 10, 8 p.m.; Wed., Oct. 16, 8 p.m.; Thu., Oct. 24, 8 p.m. Continues through Oct. 27. Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, 310-477-2055, www.odysseytheatre.com.

In My Corner: The theme of fathers and sons occupies well-trodden ground in the theater, but Joe Orrach's exploration of his relationship with his Puerto Rican father is unique in its presentation. Having been a professional boxer and tap dancer, Mr. Orrach is hardly an average Joe, and he and co-writer Lizbeth Hasse infuse this solo show with elements of his former lives, cleverly employing choreography, a jump rope and a speed bag in the storytelling ... not to mention a live jazz trio. Headed by nimble pianist and musical director Matthew Clark, the musicians provide a rich rhythmic and melodic undercurrent to the show, with a sound that's at times reminiscent of another Bay Area jazz virtuoso, Vince Guaraldi. Director Jeremiah Chechik helps Orrach combine the storytelling with the physicality of the show (such as using the speed bag as a dance partner) and, with lighting designer Briana Pattillo, creates some solid visuals onstage (especially the boxing ring). However, this former pugilist doesn't land as many punches as he ought to; despite his fascinating source material, the show meanders between episodes, lacking a strong enough dramatic throughline to build emotional momentum. Also, other than his father's character, none of the rest of Orrach's family is as well developed in the piece. Still, with some reworking, Orrach and Hasse could potentially turn Joe's multifaceted life experience and talents into a knockout of a show. (Mayank Keshaviah). Thursdays-Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Nov. 3. Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, 310-477-2055, www.odysseytheatre.com.

Ise Lyfe: Pistols & Prayers: A spoken word hip-hop theater piece, written and performed by artist and educator Ise Lyfe of HBO's Def Poetry Jam. The production is a sociopolitical commentary, blended with a glimpse into Lyfe's coming of age as a man, artist, and advocate for social change. Wednesdays, 8 p.m. Continues through Nov. 27. Greenway Court Theater, 544 N. Fairfax Ave., Los Angeles, 323-655-7679, www.greenwayarts.org.

Just Imagine: Although the wow factor is missing, aficionados of John Lennon probably will appreciate this tribute to the iconic musician, which juxtaposes renditions of his most famous songs with a narrative of his life. Lennon impersonator and lead singer Tim Piper addresses the audience in a confiding manner as he relates events in Lennon's life -- his troubled boyhood in Liverpool culminating in the death of his mother, up through The Beatles, his marriage to Yoko Ono and his transformation into a family man and spokesman for the counterculture antiwar movement. There are no surprises in writer-director Steve Altman's script, and watching and listening to Piper, an American donning a Liverpool accent, failed to persuade me that I was hearing the real McCoy. That said, Piper's backup band, Working Class Hero, performs well and provides an opportunity for those who wish to reimagine the legend to do so. (Deborah Klugman). Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Dec. 29. Hayworth Theatre, 2511 Wilshire Blvd., Los Angeles, 310-213-6955, www.thehayworth.com.

Klepto-MANIA: A Night of Time-Travel, Bullfighting, and Love: Opening this bill of one-acts is Samantha Macher's "Brechtian comedy," The Arctic Circle *and a Recipe for Swedish Pancakes. Unfortunately, it's a dreadfully unwieldy affair parceled out in 28- plus scenes that chronicle the amorous life and exploits of Elin (Katie Apicella). Narrated by Amy Scribner, it constantly shifts back and forth in time and place, which makes for a theatrical experience that quickly goes from annoying to mind numbing. There are way too many scenes that are nothing more than trifles, and McKerrin Kelly's direction is consistently labored. If there is any redemption, it's in the acting, which isn't bad. Robert Plowman's The Matador manages to be entertaining, in spite of hanging around too long. Directed by Todd Ristau, and spiced with an engaging pinch of camp, it tells the story of a much heralded matador (played with ticklish panache by Mark Ostrander) who gets more than he can handle when he encounters an unusual bull (choreographer Susanna Young) and an admiring female (Emma Sperka). Studio/Stage, 520 N. Western Ave., L.A., Fri.-Sat., 8 p.m.; Sun., 7 p.m.; through Sept. 22. (Lovell Estell III). Tickets & info: www.kleptotheatreworkshop.com. Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through Sept. 22. Studio Stage, 520 N. Western Ave., Los Angeles, 323-463-3900, www.studio-stage.com.

L.A. Theatre Works: Reasons To Be Pretty: Thomas Sadoski reprises his Tony-nominated role in Neil LaBute's drama about the modern obsession with physical beauty. The lives of two couples are disrupted when Greg's offhand remark that his girlfriend is not pretty gets back to her. Performed radio theater-style. Fri., Sept. 20, 8 p.m.; Sat., Sept. 21, 3 & 8 p.m.; Sun., Sept. 22, 4 p.m. James Bridges Theater, 1409 Melnitz Hall, Westwood, 310-206-8365.

Lake Anne: A New York actress disrupts the peace among a former prima ballerina teetering on the edge, her damaged son, and a mother with her own agenda. Written by Marthe Rachel Gold, directed by John Frank Levey. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Nov. 9. NoHo Senior Arts Colony, 10747 Magnolia Blvd., Los Angeles.

Light in the Darkness: Adapter and director Ramon Monxi Flores weaves Mayan mythology into this otherwise predictable message drama about a gangbanger and his uncertain journey toward redemption. Originating from a 1992 script by Victor Tamayo, which focused primarily on drug abuse, the familiar plot revolves around Carlos (Johnny Ortiz), a parentless youth living an empty, violent existence. Street life and drug dealing leave him little time for his girlfriend, Liz (Sara Aceves); that changes when she becomes pregnant and opts, to his dismay, for an abortion. Under Flores' direction, lighting (Sohail Najafi), sound (Andrew Graves) and set design (Marco Deleon) easily eclipse both the boilerplate dialogue and the nonprofessional performances. (Exceptions include Joshua Duron as a twitchy addict, Wali Habib as a shooting victim and Xolo Mariduena as Carlos' younger self.) The production's most striking element is Victor Yerba's fabulous Maya dancing; it, along with other production elements, ties the narrative to an ancient means of salvation. (Deborah Klugman). Fridays, Saturdays, 8 p.m.; Sundays, 5 p.m. Continues through Sept. 29. Casa 0101, 2102 E. 1st St., Los Angeles, 323-263-7684, www.casa0101.org.

Lily Ann's LOVE YOU!: Some shows somehow succeed in being fun or entertaining in spite of an overload of faults. Such is the case -- sort of -- with this cabaret- style musical comedy by Beyonde Productions, with book, music and lyrics by Lily Ann. Brimming with groan-inducing shtick, it takes place in a Hollywood nightclub owned by Nicolas Caged (Austin Springer), a red-bedizened Elvis impersonator, whose singing and cache of antics are bad in a laughable sort of way. The star of the evening is the ultra-sexy Mary Lynn (Yvette Nii), who does sing a bit better, and whose desperately stretched sequined dresses garner sympathy from the audience. Mary Lynn is being courted by the "other" Elvis impersonator, Charles Love (Jamie Lane) and country-boy hunk Toby Kiss (Jesse Welch, who actually can sing). In addition to a slew of mediocre songs and music, the evening includes a return-to-the-'60s dance routine, some nifty conga playing by Bob Hardly (Jah-Amen Mobley) and a cheeky murder mystery. (Lovell Estell III). Saturdays, 8 p.m. Continues through Oct. 12. The Black Box Theater, 12420 Santa Monica Blvd., Los Angeles, 310-979-7078.

The New Situation: In playwright-director Carlo Allen's comedy, when schoolteacher Francisco (Joshua M. Bott) gets pink-slipped, he and his agoraphobic sister, Antonia (Susan M. Flynn), are forced to take out a Craigslist ad looking for boarders. Fortunately, their new lodgers -- gay, middle-aged museum docent Constantine (Jordan Preston) and womanizing restaurant manager Rudy (author Allen) -- join the siblings to become a close-knit family unit. They all celebrate their friendship by going off to get colonoscopies. And that's the play. Allen is to be commended for crafting a comedy whose characters face issues of reaching middle age. Sadly, though, the play is a dramatically maladroit work -- and the halting line readings, unfocused blocking and weird pacing jags of Allen's staging benefit the piece little. Although Flynn's comic timing provides a few moments of artistic craftsmanship, the plodding writing and other cast members' onstage awkwardness doom the piece. (Paul Birchall). Saturdays, 8 p.m.; Fri., Sept. 20, 8 p.m.; Fri., Sept. 27, 8 p.m. Continues through Sept. 28. Promenade Playhouse, 1404 Third Street Promenade, Santa Monica, 310-656-8070, www.promenadeplayhouse.com.

Open House: An audacious real estate salesman needs to sell an overpriced house during an off season. Enter a seductive, mysterious woman new to California who senses that something wrong has happened in the house, in writer Shem Bitterman's third dramatic production at the Skylight Theater. See Stage feature: http://www.laweekly.com/2013-08-01/stage/shem-bitterman-open-house/full/. Fridays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Sept. 22. Skylight Theater, 1816 1/2 N. Vermont Ave., Los Angeles, 323-666-2202.

Oy!: The story of two German Jewish sisters, Selma and Jenny, who in 1995 return to their home in Paris after a trip to the German city of their youth and try to investigate the swirl of emotions, opinions and memories that surfaced during their trip. This play questions forgiveness, the work of memory, and the state of modern racism in the world. Written by Hélène Cixous, directed by Georges Bigot. Starting Sept. 21, Thursdays, Saturdays, 8 p.m.; Sundays, 2 p.m. Continues through Oct. 20. Actors' Gang at the Ivy Substation Theater, 9070 Venice Blvd., Culver City, 310-838-4264, www.theactorsgang.com.

Pieces (of ass): A series of original "Pieces," delivered by a cast of twelve of the country's most dynamic and beautiful performers, exploring what defines an attractive woman, from the perks and privileges to the problems and pressures. Fri., Sept. 20, 11 p.m. Beacher's Madhouse at The Roosevelt Hotel, 7000 Hollywood Blvd., Los Angeles, 323-785-3036, www.thompsonhotels.com.

The Pokémusical: Winner of the 2013 Hollywood Fringe Festival's "Best Fringe Festival Musical Award," this original satire follows the first journey of Ash, Misty, Brock, Pikachu and the rest of the crew from the original games as they traverse Kanto, this time with added song and dance. Book and Lyrics by Alex Syiek. Fridays, 8 p.m.; Saturdays, 11:59 p.m. Continues through Sept. 28. Elephant Stages, 6322 Santa Monica Blvd., Los Angeles.

REDCAT's Radar L.A. Festival: An international festival of contemporary theater. REDCAT gathers the some of the most influential theater companies from around the globe to perform alongside innovative Los Angeles artists. Visionary works of theater from Latin America, the Pacific Rim, and Los Angeles in 18 productions performed in downtown's historic theaters and throughout the city. A professional symposium will highlight interdisciplinary approaches and new theatrical forms. REDCAT will be the late night festival hub with a line-up of DJs and informal performances. Visit redcat.org/festival/radar-la-festival-2013 for a complete schedule. Sept. 20-29, 8 p.m.; Oct. 1-6, www.redcat.org/festival/radar-la-festival-2013. REDCAT: Roy and Edna Disney/CalArts Theater, 631 W. Second St., Los Angeles, 213-237-2800, www.redcat.org.

The Royal Family: The work's the thing in George S. Kaufman and Edna Ferber's gentle 1927 spoof of the Barrymore dynasty, which forms the centerpiece of Theatricum Botanicum's 40th-anniversary season. The venerable, oak-nestled venue's own founding family fills in as the board-treading Cavendish clan. Artistic director Ellen Geer slings Downton Abbey-worthy zingers as dowager Fanny, while sister Melora Marshall and daughter Willow Geer carry the torch as the next generations of theatrical luminaries. All three women nail the benign entitlement and cozy security that comes from knowing you're an institution, but the dated material may be more thrilling for its cast than the audience. More compelling than the distant Barrymores is the play's exploration of pursuing the creative life at the cost of domestic and personal stability. Director Susan Angelo wisely avoids interfering with her cast's marvelous instincts, but a tighter rein would keep us from sharing Marshall's bewilderment when the madcap pace proves too frenetic. (Jenny Lower). Sat., Sept. 21, 4 p.m.; Sat., Sept. 28, 4 p.m. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga, 310-455-3723, www.theatricum.com/index.html.

Sheet Cake Sliding: A black comedy about a self-made business executive who tries to mold his family to conform to his plans, only to find that his family is a creation as complex and dangerous as Frankenstein's monster. Written by Stacia Saint Owens, directed by Nicholas Newell. Fridays, Saturdays, 8 p.m.; Sundays, 7 p.m. Continues through Oct. 19. Theatre of NOTE, 1517 N. Cahuenga Blvd., Los Angeles, 323-856-8611, www.theatreofnote.com.

Silent Witnesses: Written and performed by Stephanie Satie. Decades after World War II, a group of women who survived the Holocaust as children meet in a group moderated by a therapist and begin to tell their stories for the first time. Based on true events. Directed by Anita Khanzadian. Starting Sept. 22, Sundays, 7:30 p.m. Continues through Oct. 27. Whitefire Theater, 13500 Ventura Blvd., Sherman Oaks, 818-990-2324, www.whitefiretheatre.com.

Stand-Off at Hwy #37: A staged reading of a new play by Vickie Ramirez, about political, environmental and spiritual convictions. Clashes erupt when plans to build a highway through a Native American reservation in upstate New York prompts protests and clashes between the protestors and law enforcement. Part of Native Voices' First Look Series: Plays In Progress. Thu., Sept. 26, 7:30 p.m. Autry National Center, 4700 Western Heritage Way, Los Angeles, 323-667-2000, www.theautry.org.

Tone Clusters: A drama by Pulitzer Prize-winning author Joyce Carol Oates, about an ordinary husband and wife who find themselves trapped under nightmarish attention when their son is arrested as the alleged killer of a neighborhood girl. The playwright will be present on opening night for a panel discussion after the performance. Thu., Sept. 26, 8 p.m.; Fri., Oct. 4, 8 p.m.; Sat., Oct. 12, 8 p.m. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga, 310-455-3723, www.theatricum.com/index.html.

Twilight Zone Unscripted: There is good reason for live improv's reputation as the high-wire balancing act of comedy. But even the Flying Wallendas can have an off night. And in the case of Impro Theatre's long-form send-up of Rod Serling's 1960s sci-fi anthology classic, "off" can prove very deadly indeed. Directed by Jo McGinley and Stephen Kearin, the Impro troupers (who on this evening included Lisa Fredrickson, Brian Michael Jones, Brian Lohmann, Nick Massouh, Michele Spears, Floyd VanBuskirk and director McGinley) ad-lib four half-hour episodes from audience suggestions, replete with spot-on riffs of the series' signature Serling monologues. MVPs VanBuskirk, Fredrickson and Lohman each managed to knock at least one of their teammates' uninspired curves high into the stands. In between, however, the proceedings were a pointed reminder of why the outer limits of an improvised sketch remains four minutes: In live comedy, laughless seconds can seem like dog years to an uncaptivated audience. (Bill Raden). Wednesdays-Saturdays, 8 p.m.; Sundays, 4 p.m. Continues through Sept. 29, falcontheatre.com/twilight_zone_unscripted.html. Falcon Theatre, 4252 Riverside Drive, Burbank, 818-955-8101, www.falcontheatre.com.

A View From the Bridge: Many consider Arthur Miller's dramas moral tragedies, but you also can think of them as mysteries, as their narratives contain events whose true meaning only becomes clear at the end. Longshoreman Eddie (Vince Melocchi) is a salt-of-the-earth type who thinks he's doing a good deed when he lets a pair of his wife's distant cousins, both illegal immigrants from the old country, move in with his family. He soon has reason to rue this decision, though, as his lovely niece, Catherine (Lisa Cirincione), falls in love with the more handsome of the two cousins, Rodolpho (Jeff Lorch) -- and Eddie is destroyed by his own inexplicably over-the-top jealousy. This is a mostly powerful, admirably straightforward production by co-directors Marilyn Fox and Dana Jackson, which stumbles slightly during the clumsy, frenetically staged final sequence. The production is anchored by Melocchi's nicely gruff Eddie, whose turn suggests a character swept along by passions he lacks the articulacy to express. (Paul Birchall). Fridays, Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Sept. 22. Pacific Resident Theatre, 703 Venice Blvd., Venice, 310-822-8392, www.pacificresidenttheatre.com.

What Kind of God?: The world premiere of a new play by KPCC morning radio host Steve Julian, which explores the price paid by victims of the Catholic Church sex abuse scandal. Thursdays-Saturdays, 8 p.m.; Sundays, 3 p.m. Continues through Oct. 20. Elephant Stages, Lillian Theatre, 1076 Lillian Way, Los Angeles.

Saturday, September 21, 2013

ST. GEORGE - It took more than a dozen St. George firefighters and several power tools to free a man's arm after it became trapped in the blades of an industrial dough mixer Thursday night.

Firefighters and paramedics from Gold Cross Ambulance responded to 677 North 3050 East unit 15 at approximately 6:15 p.m. after the St. George 911 Communication Center received a report of a 22-year-old man whose arm and hand was "wrapped" around the blades of the mixer. The man, an employee of The Pasta Factory, was mixing pasta dough at the time of the accident

St. George Fire Chief Robert Stoker said several fire crews arrived on scene shortly after paramedics had started an IV with pain medication.

"It was a U-shaped mixing container with a shaft running through the middle of it, and then the mixing knives come out of that shaft," Stoker said. "His hand got down in there and it wrapped his left arm and hand in that shaft and pinned him up to his shoulder. It looked like at least one knife had penetrated through the arm."

To Stoker's surprise, the patient was "calm" and alert when he arrived on scene.

"As a patient, he did an extraordinary job of keeping it together," Stoker said. "He was conscious enough that he was telling us what was going on. Most patients are screaming, which they should be when you have something like that going on."

Stoker said fire crews disconnected power and began trying to take the machine apart shortly after arriving.

"As we disassembled the machine, it was obvious it would be an extended extraction because we couldn't really just reverse the shaft where that one blade was penetrating his arm," Stoker said.

Since crews couldn't immediately free the man's arm, they transported him to Dixie Regional Medical Center by ambulance with parts of the mixer still attached.

"We felt it was better for the patient's care to (extricate him) at the hospital with the doctors and other medical personnel there," Stoker said.

Firefighters used hand tools, grinders, air tools, circular saws, cutting torches and hydraulic extrication equipment for approximately 90 minutes in the emergency room ambulance bay before they were able to remove the stainless steel shaft and container, at which point medical personnel took the man into the hospital for X-rays and emergency surgery.

"They worked on him for another 30 minutes before they had all the machinery removed from the arm," Stoker said. "(His arm was) broken in multiple places plus there was a lot of tissue and bone damage. I'm not sure how long he was in surgery or how things turned out yet."

According to Pasta Factory owner Brad Nelson, the man was still recovering in the intensive care unit at DRMC on Friday.

Stoker said fire and medical crews worked together to keep the extraction running "smoothly."

"We get these types of things, but they are few and far between," Stoker said. "When we knew we'd probably transport him with (the machine) attached, we sent one of the crews to the hospital to get ready for us. They got a lot of their equipment out and were ready to go by the time the patient arrived. Everybody had their job, and it ran very smoothly."